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Tears in the Darkness: The Story of the Bataan Death March and Its Aftermath by Michael Norman, Elizabeth Norman
Book Summary InformationAuthor: Elizabeth Norman, Michael Norman Edition: Hardcover Audio: English (Unknown); English (Original Language); English (Published) Published: 2009-06-09 ISBN: 0374272603 Number of pages: 480 Publisher: Farrar, Straus and Giroux
Book Reviews of Tears in the Darkness: The Story of the Bataan Death March and Its AftermathBook Review: A Shatteringly Powerful Epic of Narrative Nonfiction Summary: 5 Stars
Tears in the Darkness is a model of literary joinery, every sentence planed plumb-line straight and seamlessly dovetailed into the next. Full disclosure: I know the authors. That said, the swelling chorus of almost unanimous approval, here, argues my point that the Normans' fastidious craftsmanship and exhaustive, almost superhuman research propel what might have been one more tour of duty through the stoic sufferings of the Greatest Generation into an epic of narrative nonfiction, well-deserving of shelf space alongside John Hersey's Hiroshima.
Following Hersey's lead, the authors refract this grisly, gripping horror story through the prism of individual lives, juxtaposing soldiers' stories with the overarching narrative of the Bataan Death March. Readers with a litcrit cast of mind might recognize this multi-threaded approach to storytelling from the movie Crash or the TV series Survivor.
Of course, the Normans are using this technique in the service of something far more profound, though no less spellbinding. Tears is briskly paced, careening from one cliffhanger to another. American and Japanese soldiers speak from the pages of their diaries, letters home, or interviews with the Normans, walking us through the circles of this surreal inferno, where it's every man for himself and God against all, as Werner Herzog put it (in another context). Careful not to jerk our tears, wave the flag, or grind an ideological axe, the Normans let the facts speak for themselves, detailing the catastrophic complacency of the American commanders in the Philippines, drinking and whoring away the sultry days in paradise and dismissing the Japanese as too slanty eyed to shoot straight, if things should ever come to a shooting war.
And then, out of sun, comes the Imperial air force, reducing American airfields to so much smoking rubble. The so-called Death March follows, in which American POWs are starved into human skeletons, marched until they die standing at roll call, and bayoneted if they speak or bayoneted if they don't speak or bayoneted for no reason at all, in this absurdist hell. It's a dizzy, gut-clenching descent into a moral abyss, and the spare, unsentimental prose of the Normans communicates its pathos and its horror as well as the flashes of humanity and, incredibly, humor that keep some of these men alive.
The authors are studiously apolitical, treading lightly on explosive questions such as whether Truman's decision to drop the bomb spared countless U.S. troops at the expense of apocalyptic devastation on the ground, in Japan. Even so, there's an implicit populism---and, I'd like to believe, an inherent proletarian politics---in the authors' decision to give us history from the bottom up, telling the story from a grunt's eye-view, rather than a commander's. Significantly, MacArthur emerges as creepily Karl Rove-ian and nakedly careerist, burnishing his public image and line-editing his own press releases with one eye on the Pentagon and the other on history's verdict. Now, the Normans undo the General's deft opinion management, revealing military blunders that may well have played a key role in bringing on the American nightmare in the Philippines.
Even more radically, the authors examine the brutalization of Japanese troops in the boot camps of the Imperial army, where savage beatdowns and nonstop psychological abuse melted men down and remade them as unquestioningly obedient killers. At the same time, the Normans restore the lost humanity of these men, some of whom were irreparably traumatized by the grotesque acts they were forced to commit. Their portrait of the Japanese general is especially affecting, movingly told through excerpts from his letters to his family while he waited, through long days of delay, for his appointment with the firing squad. The authors make a convincing argument that his culpability for the atrocities is an open question, given the palace intrigues of the Japanese high command and the astonishing lack of accountability of many field commanders. And they muster ample evidence to prove that his trial by an American military tribunal was a kangaroo court, its verdict foreordained by MacArthur for political---and self-promotional---purposes.
Echoes of Gitmo, to this reader's ear, which is why I found myself wishing, at the end, that the authors had interlaced some of the themes of their historical narrative with the imperial overreaching and clash-of-civilizations ideologies of the present, when we find ourselves ankle-deep in blood once again, this time in the mountains of Afghanistan.
Too, I wanted the authors to think a little more deeply about the cultural construction of masculinity, since cultural notions of what it means to be a man---whether a living archetype like the cowboy Ben Steele or the samurai general giving the firing squad back its hard-eyed stare---constitute one of this story's barely buried themes. On the movie screen of the American mind, military culture may be about glory and honor. But beneath all the Band of Brothers rhetoric about warrior culture and esprit de corps, it's also about a deeply pathological definition of masculinity. The Japanese military model, more brutal by an order of magnitude, only hyperbolizes that fact.
Then again, the Normans weren't ghostwriting a Chomsky speech. Besides, they'd probably argue that, yes, war is a slaughterbench, but it's also a crucible that boils us down to what we are, at our cores. In one of Tears's many searing scenes, a ship's hold full of half-dead, oxygen-deprived, starvation-crazed American POWs reverts to Hobbes's proverbial state of nature, tearing each other to pieces with their bare hands. At the same time, camaraderie brings out the nobility in others, common men who risk their lives to save their friends, without a thought for the history books, convinced no one will ever know how they lived or died.
Through the Normans' shatteringly understated testimony, we know.
Summary of Tears in the Darkness: The Story of the Bataan Death March and Its AftermathFor the first four months of 1942, U.S., Filipino, and Japanese soldiers fought what was America s first major land battle of World War II, the battle for the tiny Philippine peninsula of Bataan. It ended with the surrender of 76,000 Filipinos and Americans, the single largest defeat in American military history.
The defeat, though, was only the beginning, as Michael and Elizabeth M. Norman make dramatically clear in this powerfully original book. From then until the Japanese surrendered in August 1945, the prisoners of war suffered an ordeal of unparalleled cruelty and savagery: forty-one months of captivity, starvation rations, dehydration, hard labor, deadly disease, and torture far from the machinations of General Douglas MacArthur.
The Normans bring to the story remarkable feats of reportage and literary empathy. Their protagonist, Ben Steele, is a figure out of Hemingway: a young cowboy turned sketch artist from Montana who joined the army to see the world. Juxtaposed against Steele s story and the sobering tale of the Death March and its aftermath is the story of a number of Japanese soldiers.
The result is an altogether new and original World War II book: it exposes the myths of military heroism as shallow and inadequate; it makes clear, with great literary and human power, that war causes suffering for people on all sides.
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